We begin today our discussion on ARTISTS AS INVENTORS through*
*the end of March.*
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*A new generation of artists is making technical and social inventions in
pursuit of their artistic production. There is new interest in the work of
artists from laboratories, companies and public organizations seeking ways
of innovating in science and engineering. The ARTSACTIVE network was
established to promote these initiatives: http://www.artsactive.net/en/*
*ARTSACTIVE member Robert Thill is compiling a resource directory of patents
filed by artists:*
*This work has stimulated a number of deeper questions about the nature of
invention, intellectual property and the ways that the arts, sciences and
technology interact in society.*
*YASMIN in collaboration with ARTSACTIVE is organizing a discussion around
questions which include: *
1. What makes a work an invention?
2. How have artists used " inventorship" to establish originality in the
past and today?
3. What are some examples of artists' inventions? How have artists
inventions pioneered new areas of technological development ?
4. How is an art-related invention different from an invention that is not
tied to the conventions of art? How is an art-related invention different
from invention in other fields?
5. When art-related inventions attempt to transcend the art context, what
are some of the outcomes?
6. How have artists appropriated existing inventions to create innovative
art? Is some innovation culturally sterile.
7. To what degree has the idea of intellectual property shaped the
discourse between art and science and/or shaped discourse within these two
8. Under what circumstances does "invention" mean "fiction"?*
*9. Often innovations in social organization and practices are as crucial as
technological innovation. What examples do we have of artists contributions
of this type.*
*10. While inventing can be expressed, documented, and put into practice,
can it be taught? Pedagogical views on inventing are welcome.*
*Robert Thill is currently publishing "Intellectual Property: A
Chronological Compendium of Intersections between Contemporary Art and
Utility Patents in Serial Form" on the Web site of the Clandestine
Construction Company International, which is devoted to issues related to
art and law (see the project at http://www.clancco.com). In addition, Thill
is an administrator at the Cooper Union for the Advancement of Science and
Art in New York.*
*Discussants: NOTE ALL YASMINERS ARE INVITED TO JOIN THE DISCUSSION BUT THE
FOLLOWING INVITED DISCUSSANTS WILL SEED OUR DISCUSSION:*
Derek is an Architect and co-founder of the Digital Research Unit, UK.
Derek works on interdisciplinary studies in culture and innovation through
an international artist in residency programme, R&D commissions, public
events and creative labs.
*Sylvie Lacerte is an independent curator, scholar and author. She holds a
Ph.D. in Art Theories and Practices from Université du Québec à Montréal
(UQAM). Her publications include her book La médiation de l'art contemporain
(2007).She has been teaching, since the winter of 2007, the seminar on the
Documentation and Conservation of Media Art, both at McGill University
(2008) and at UQAM (2007, 2009*
*Arantxa Mendiharat was born in France and works in Donostia-San Sebastián
(Spain). She has been coordinating DISONANCIAS, a platform that promotes
relationships between artists and companies, research centres or public
organisations in order to develop joint investigations, since the beginning
of the platform, in 2005. She studied political sciences in Bordeaux and
arts management in Paris and Edinburgh. Her main interest has to do with the
link between artistic practices and social changes. She is the coordinator
of ArtsActive **http://www.artsactive.net/en/***
Japanese artist. Graduated in Medicine from Chiba University. Acrylic
Painting, 1983-1989. Silly CG, 1990-1996. Method Painting, 1997-2005.
Serious Painting since 2006. Published "Methodicist Manifesto" with the
presence of a poet and a musician on January 1, 2000. Books "Text on Modern
Art History," "The Lives of the Western Painters," "Contemporary Art
History: Japan." Patents "Voxel Data Processing Using Attributes Thereof,"
"Solid Object Generation." CD "Nakazawa Hideki Music Works." Web
Barbara U. Schmidt is researcher at the Ludwig Boltzmann Institute
Media.Art.Research in Linz, where she directs a research project on
the institutional development and objectives of the Ars Electronica. Her
recent book co edited with Dieter Daniels triggered the idea of this
discussion:* *Artists as Inventors — Inventors as
** Ostfildern 2008, Hatje & Cantz, 240 pages, 77 images, Englisch ISBN
**Between 2003 and 2005, Schmidt worked as an assistant professor at the
Institute for Media/Media Theory at the University of Arts and Industrial
Design in Linz and as director of the research project "New Media Images,"
supported by the Austrian Ministry of Education, Science, and Culture.
*Cultural journalist, she is currently working as an author, using different
media of communication of language (radio, books, theater, audiovisual,
multimedia...), and in questioning their function experimenting with
creation that is specific to each. She collaborates with artists from
different disciplines, in France and elsewhere (Japan, Italy, Morocco,
Russia. Founder of the association Alphabetville in 2000 in Marseille, she
has created a place of reflection around the connections between language
and the media. http://www.alphabetville.org*
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